While The Scribbler isn't exactly in contention with the best that the comic book genre has to offer, Katie Cassidy utilizes the numerous voices in her head to create a unique hero for a bit of stylized freshness.

Wish Upon is a Final Destination redux that pulls too many punches.

Hitman's Wife's Bodyguard is a perfectly acceptable buddy sequel, but it's all very uninspired and unoriginal.

Quite simply, it’s impossible to “enjoy” a film that makes you feel even worse about the society we live in – especially when it’s so gobsmackingly unaware itself.

Hellboy feels editorially chopped to bits, tonally disjointed and created from clashing perspectives that make for the type of "dark, gritty" reboot that misunderstands why certain "dark, gritty" reboots end up working.

The Book of Henry is a hair away from being in league with the most ludicrous Lifetime original movies, but its cast, slick production and Trevorrow’s willingness to take risks make it an oddball chunk of entertainment you’ll be sure to tell your friends about, whether you liked, loved or loathed it.

Obvious and sometimes aggravating no doubt, but still effective in raising blood pressure given a backstory so instilled with old-school cultism.

Sometimes, something so bad happens that a terrible sadness is carried with it and the soul can't rest. 'The Crow' is one such bad something.

The Expendables is far from high art, but it’s safe to say the saga has never hit a lower point than it has here, a crushing disappointment for anyone genuinely hoping for the return to form that was promised and demanded.

A power failure from top to bottom, The Electric State takes its revelatory source material and churns out cinematic poison of the most rancid order.

Tyler Perry never wants to scare you, and I assure you, he never will. Perry DOES want to make you laugh though, succeeding when jokes are bite-size and contained – but most scenes ramble on and on as Madea searches for multiple ways to land the same punchline.

It’s either a compliment or a criticism to say that you need to be on the exact same wavelength as Big Gold Brick to get a kick out of it, because if you turn the dial even the tiniest little bit in either direction, all you’re going to end up with is static. If you’re on board, though, then there’s plenty to enjoy about an offbeat adventure that’s unlike anything else you’re likely to see this year.

Incarnate is just another buried Blumhouse special, and I assure you its neglect is with good reason.

Area 51 is everything that's wrong with not only found footage films, but also weak-minded sci-fi thrillers that think crazed talking heads and fuzzy shadows are scary enough.

Cabin Fever: Patient Zero certainly lives up to Eli Roth's gory standards, but individual enjoyment will hinge on one's love of schlocky B-Movie antics.

Brahms: The Boy II seems to want nothing to do with its original, which is an odd and detrimental outcome for your direct continuation of Brahms' ongoing story.

It’s a flawed, frustrating film made even more lackluster by its failure to explore its own weighty themes and its apparent refusal to connect those themes to its story and characters.

Alexa, send this underbaked, untethered failure back to the cutting room.

Paramount+ has finally released its first major in-house exclusive movie, but it's an understatement to say that Infinite could be better.

A blatant attempt to apply the winning 21 Jump Street formula to another television property, CHIPS instead winds up a standard hard-R action comedy that audiences will probably forget by the time they leave the theater.

Winchester is a familiar haunted house shuffle about an infinitely more interesting topic, but you must play with the hand you're dealt - win, lose or draw.

Relentlessly dumb yet royally entertaining, Survivor sometimes approaches the realm of being “so bad it’s good.”

It’s not that Soisson created a terrible movie, but Cam2Cam is late to the party, brings absolutely nothing notable, and sits in the corner without making a peep.

Frankly, it’s heartbreaking to see the Henson name tossed about a project that’s so heartless and so gruesome that the only thing I imagine sticking from it is Phil’s “Silly String.”

Bay's latest Transformer title is a daunting behemoth of a film and you can feel every ounce of dead weight, as sins of the past are committed without any signs of stopping.

This is one sluggish curse that wouldn't wake even Sleeping Beauty.

Like a flashlight that's running low on juice, you can feel the life oozing out of Nightlight with every faint flicker.

Many have done worse with similar setups, which isn't exactly a glowing recommendation - but hey, if you love Pierce Brosnan enough, you should be fine with I.T.

One of the best video game movies ever is buried far, far, far beneath this foul, foul, foul thing.

Madame Web's disastrously-woven pile of flaws exceeds the descriptive limits of not only the English language, but of the very collective of contrived sound itself.

Officer Downe is a vicious, violent bit of midnight madness that shoots first, and then shoots again for good measure. No need to ask questions.

Between the split bones and compulsive carnage, a disjointed script, co-written by Stallone and Matthew Cirulnick, makes Rambo: Last Blood mindless and messy.

Categorizing Rings as "horror" would be a disservice to genre films, because at least the lowest of the low attempt a scare here or there.

Me Time has plenty of talent and a potentially interesting hook, but it's quickly drowned in a sea of comic mediocrity.

There isn’t a shred of originality or inventiveness to be found anywhere in the DNA of Midnight in the Switchgrass, but the performances from Fox, Hirsch and Lukas Haas as the unnervingly creepy and very murderous Peter are deserving of much better material. That being said, it’s exactly what you’d expect from a modern era Bruce Willis effort, even if he’s barely in it at all.

A listless cast and a crushingly flat script fail to illuminate the lives of high-wire electrical workers in Life on the Line, which instead resorts to tired story beats and a false sense of self-righteousness.

Collateral Beauty is a Hallmark tear-jerker in the worst way, so out of tune with human emotion that it almost becomes satire.

Underworld: Blood Wars is the kind of mainstream horror I want to champion, but lackluster technical aspects nullify Kate Beckinsale's kick-ass performance.

Max Steel may promise a change of pace from all the Marvel and DC adaptations, but it’s subpar to both those shared universes on every level, telling an origin story that brings little new to the table and a cast that deserves far better.

Ben Browder's follow-up to Bad Kids Go To Hell is less stylized and more generic, even with the same private-school mean streak.

Martyrs is the exact movie we feared it'd be - a forgettable remake of a far more prolific foreign success story.

The Tax Collector flings blood, guts, testosterone and Latinx characters to the wall to see what sticks. And in many ways, it pulls that off, especially when all those things are literally splattered on walls.

From start to finish, Fantasy Island is lacking wicked wonderment and poignant reboot vocality. You'd be best off skipping it.

It lives up - or rather down - to its title, sending its stars on a hedonistic road trip with a pink Mini Cooper's worth of sexist, racist, homophobic and ugly jokes for company.

The Clapper is a sharp combination of sweet romance and biting satire on the cruelties committed in the name of entertainment.

Hellraiser: Judgment is a stuffy police procedural masquerading as a torturous Pinhead franchise entry.

Replicas lacks vigor in its plot, intelligence in its science, depth in its ethics, and humanity all around. It’s a disaster.

It's a shame Silent Hill: Revelation suffers the same doomed fate as most modern horror movies, bumbling through a shockingly disconnected screenplay which strings together moments that could have been salvaged otherwise.

Even those who are deathly afraid of clowns will have trouble finding enjoyable bouts of horror in this survival thriller.

Though it doesn't break any new ground, The Siege of Jadotville is a well-crafted piece of filmmaking that investigates the often-contentious relationship between politics and war.

Fear Inc. wastes a devious idea on a slew of reveals that bring momentum to a crushing halt.

The Windmill is all about kills, but can't generate enough energy to power this derivative, sometimes nonsensical plot.

Plainly put, Last Girl Standing explores a unique horror convention from a fresh angle, but can’t execute when it counts.

The Frontier is a stale film from another era, with an unfortunate story that's about as frail as a tumbleweed.

While there are moments to enjoy in Sugar Mountain, they simply don’t come often enough and by the end, you’ll find yourself struggling to care what happens to any of the characters here.

Despite some impressive visuals and a few good supporting actors, Netflix's Spectral fails to leave an impact.

Though flawed, clunky and a bit Instagram-chic, Go North is an intriguing parable about how the next generation deals with the mess baby boomers have left behind.

Coin Heist is like Ocean's 11 meets The Breakfast Club, but minus the charm, character and ambition.

Pitchfork is defined by a country dance sequence with full boot-stomping choreography - not a great sign for a horror movie.

The Snare is so without substance that you might not even remember watching it.

The Axe Murders Of Villisca is too familiar a haunted house story to be anything more than generic.

Don't Kill It is some DIY insanity that leaves more scattered limbs than an overturned Halloween decoration truck.

Lacking in imagination or genuine scares, Jeepers Creepers 3 falls tragically short on just about every front.

No ifs, ands or Bubs about it, the memory of Day Of The Dead: Bloodline will decay at lightning speed. There’s nothing new here that Romero didn’t do better, only a downgraded horror watch with lesser value.

While it doesn't top the eccentricity of Wiseau’s cult favorite, Best F(r)iends is written by a man who understands, probably more than anybody, the appeal behind The Room’s creator, and directed by another man who understands not to mess with that connection and whatever ideas come spewing from it.

The Banana Splits Movie is a peculiarly fresh nostalgia trip and has just the right amount of gore to make this otherwise by-the-numbers slasher a surprisingly amusing experience.

Slapface can often be a relentlessly bleak experience, but the thematic resonance and surprisingly effective character dynamics comfortably offset any minor flaws.

This disappointing rite-of-passage teen angst hybrid is hard work. If not for the presence of Cameron Douglas and Edouard Philipponnat, 'The Runner' would be of little interest to anyone. Thankfully, they do their best to make this at least worth a look.

Anyone going into this film should be aware it is no intellectual exercise. Any capacity for rational thought, beyond guns and ammo, should be left outside until those credits roll. Even though the dialogue is passable in comparison to other films of this genre, those expecting an actioner on par with Aaron Sorkin would do best to avoid it.

As Surrogate delves into murder mystery territory, the films palpable dread wanes. Yet, so strong is Willing’s handle of his material and Morassi’s compelling lead performance, that the after-effects are sure to haunt you long after the credits roll.

Mark Rylance is wasted in this ponderous piece of arthouse introspection.

Watching SUGA: Road to D-Day and j-hope IN THE BOX back to back is like peeling back the layers of BTS one by one. It will also make it abundantly clear why the South Korean band has gotten as far as they have.

Dangerous Waters' starts off as one thing, but barrels directly into an absurdly entertaining third act when it decides to throw the shackles off and become something else entirely.